A lyrical portrait of Amsterdam and its changing appearance during a rain-shower.

桥，纪录短片

Middle-class Parisian suburbs: Blanche and Léa, office worker and student, meet and become friends. Léa is going out with Fabien, but is thinking of leaving him. Blanche falls for Léa's handsome and witty friend Alexandre, but is tongue-tied whenever she meets him. Léa goes on holiday and Blanche, still smitten with the dashing Alexandre, begins to get to get know Fabien.

Sabine vows to give up married lovers, and is determined to find a good husband. Her best friend Clarisse introduces her to her cousin Edmond, a busy lawyer from Paris. Sabine pursues Edmond, with the encouragement of Clarisse, but Edmond does not seem very interested.

In 1962 Joris Ivens was invited to Chile for teaching and filmmaking. Together with students he made …A Valparaíso, one of his most poetic films. Contrasting the prestigious history of the seaport with the present the film sketches a portrait of the city, built on 42 hills, with its wealth and poverty, its daily life on the streets, the stairs, the rack railways and in the bars. Although the port has lost its importance, the rich past is still present in the impoverished city. The film echoes this ambiguous situation in its dialectical poetic style, interweaving the daily life reality (of 1963) with the history of the city and changing from black and white to colour, finally leaving us with hopeful perspective for the children who are playing on the stairs and hills of this beautiful town.

《塞纳河畔》（La Seine a rencontré Paris，尤里斯·伊文思，1958年|31分钟|35毫米|黑白|有声）以浓厚的诗情画意和温暖的人道情怀描绘了巴黎风情。影片开始，摄影机宛如轻盈的小船航行在塞纳河上，划过充满乡野气息的城郊，缓缓进入巴黎市区。接着，摄影机在塞纳河两岸驻足，展现岸边的生活场景：一个男人正在给自己补鞋，成群的市民漫无目的地闲逛，几个小痞子目不转睛地盯视在岸边拍照的女模特，恋人们旁若无人地沉溺在甜蜜的二人世界。一阵急雨袭来，人们迅速跑开。本片的创意源自法国电影史学家乔治·萨杜尔，试图在塞纳河与巴黎相逢的地方表现巴黎的风土人情（本片原名《塞纳河与巴黎相逢》。本片并非描写塞纳河和巴黎景色的风光片，而是一首充满温暖和煦的柔情、宽容慈悲的人道情怀以及洞察世事的幽默感的诗篇。本片拍摄完成不久就曾在中国放映，而且是导演亲自带来的拷贝。那时，他应中国政府文化部邀请访问中国，并应邀担任中央新闻纪录电影制片厂艺术顾问。本片导演尤里斯·伊文思（Joris Ivens，1898—1989）生于荷兰，年轻时代曾到许多国家拍片，后半生主要生活在法国巴黎。伊文思与中国的关系十分密切，从1938年拍摄《四万万人民》到文革时期拍摄《愚公移山》再到新时期拍摄《风的故事》，他多次来到中国并用摄影机记录下了中国不同时期的社会变迁。

26分钟
“历史学家的任务是什么？是把历史上没有发生过的事件明确地记录下来。” 在这一章里，戈达尔与电影评论家塞尔吉达内就历史和电影历史展开了激烈的讨论。“电影是二十世纪的产物吗？不，是十九世纪的；‘新浪潮’之后的人们看电影的次数是不是增加了？没有，从电影史来看有没有10部都是疑问。但是只有电影是唯一的可以完全讲述历史的艺术。只有通过电影，可以将自身投入未来。”《狩猎人的夜晚》，如里得尔皮看到的波多雷尔的《旅行》，克雷姆特的绘画。戈达尔将我们带进梦幻般的电影世界。

A student is devastated when he finds that his girlfriend is cheating on him. In order to find out why she did it, he decides to spy on her and her airline pilot lover. Then he sees the pilot with a blonde woman and he begins to follow them…

1924 film by Carl Theodor Dreyer

A tale of twin girls, Dóra and Lili, who are born in 1880 Budapest at the same moment Thomas Edison presents his electric lightbulb to the world. The sisters are soon orphaned and separated in childhood, and follow different paths: one grows up to be a naïvely idealistic, bomb-toting anarchist, the other a pampered, hedonistic courtesan. Their paths cross once again on the Orient Express on New Year's Eve 1899...

42分钟
宿命的，致命的美，就是致命的瞬间。
性与死，这是电影诞生后还处在“幼年时期”时，就开始探索的两大命题了。“人类的爱情故事的深处是乳母的历史”。从片中如此的论述就可以看出，这是《电影史》里最隐晦的一章。似乎性与死这两大命题是永远也讲述不清的人类命运。“如果电影即不是艺术又不是技术，那么它到底是什么？是神秘么？”。片中戈达尔向我们推荐了两部杰作:赫尔曼布罗霍的《威尔吉利乌斯之死》和威尔斯的《伟大的安巴逊的一家》。

1978 film by Rainer Werner Fassbinder

1975 film by Andrei Tarkovsky

2020 documentary film directed by Benjamin Ree

A lonely Parisian woman comes to terms with her isolation and anxieties during a long summer vacation.

1964 film by Carl Theodor Dreyer

Divided into three "kingdoms" -- Enfer (Hell), Purgatoire (Purgatory) and Paradis (Paradise) -- Notre Musique is an indictment of modern times.

頑皮老頭高達在新作挑釁如常，堅持如舊，對電影愛情如一，但從形式到內容，卻續有新境。比前作《愛之頌》更練達更擊中要害，是他近年最激的反思作品。三段結構的開篇〈地獄〉，戰地實錄與荷里活戰爭片交替，寓意彰甚：人類真會嗜戰。〈煉獄〉借薩拉熱窩做說書人，真實與虛構人物（包括高達自己）到此舉行文化圓桌會議，大家在寬恕迷宮中兜轉，唯有佇立已修復的莫斯塔古橋，才感一絲希望。高達最後領我們到〈天堂〉，人間竟有春色如許？但-有美軍駐守！全片最動人一幕：學生問 DV 可否打救電影？高達哀哀面向鏡頭，良久不語......
（
）

1943 film by Carl Theodor Dreyer

Filmmaker Victor Erice follows Spanish artist Antonio Lopez in his painstaking attempt to paint the image of a tree.

1973 film by Víctor Erice